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at 9:00am, an institution whose formative years were closely intertwined with his contributions. At around 11:00am, he will be taken to the Central Shaheed Minar, where admirers, colleagues and well-wishers will have the opportunity to pay their respects. Following Zuhr prayers, his funeral will be held before he is laid to rest at Banani Graveyard.

Prime Minister Tarique Rahman expressed deep sorrow at Monwar’s death, saying his passing leaves a void in the country’s cultural landscape that will be difficult to fill. He said Monwar’s contributions would be remembered with respect and continue to inspire future generations. The prime minister also prayed for the eternal peace of the departed soul and extended condolences to his family.

Paying tribute to the veteran artist, Bangladesh Group Theatre Federation General Secretary Kamal Bayezid said, “A figure like Mustafa Monwar is born perhaps once in a century, and the void he leaves behind can never truly be filled.”

Born in Brahmanbaria in 1935, Monwar’s artistic journey began long before he became a household name. He studied at Kolkata’s Sishu Vidyapith and was introduced to music by his father and elder brother. He later trained under Ustad Santosh Roy, a disciple of Ustad Fayaz Khan. Although his early interests included music, visual art would become the foundation of a career spanning more than six decades.

A graduate of the Faculty of Fine Arts at the University of Dhaka, Monwar dedicated himself to making art accessible and meaningful to wider audiences. He viewed culture not simply as creative expression but as a means of education, awareness and social engagement.

His influence extended far beyond galleries and classrooms. In 1964, he joined Pakistan Television as a producer and later became one of the key figures behind children’s programming at Bangladesh Television. At a time when television was still establishing itself in the region, Monwar recognised its potential to educate as well as entertain.

Among his most enduring contributions was “Notun Kuri”, the talent show that introduced generations of young performers to audiences across the country. Many prominent artists, musicians and actors made their first television appearances through the programme.

Yet it was puppetry that became most closely associated with his name.

At a time when the art form received little institutional attention, Monwar helped bring it into the mainstream. Through characters such as Parul, Bagha and Mini, he introduced children to stories drawn from folklore and everyday life. For many viewers, these characters became as familiar as members of their own families.

His work took on added significance during the Liberation War in 1971. In refugee camps across West Bengal, Monwar used puppetry to inspire and encourage displaced people. Productions such as “Agachcha” (“Weeds”), “Rakshas” (“The Monster”), and “Ekjon Sahosi Krishok” (“A Brave Farmer”) reflected the realities of the time and offered hope amid uncertainty.

Beyond children’s programmes, Monwar also made notable contributions to television drama. He wrote and produced works including “Roktokorobi” and “Mukhora Romoni Boshikoron”, both of which were nominated for inclusion in Granada Television’s “A Global History of Television Drama”.

Recognition followed throughout his career. In 2004, he received the Ekushey Padak, one of the country’s highest civilian honours, for his contributions to arts and culture. In 2018, Bangladesh Shilpakala Academy awarded him the Sultan Gold Medal.

Yet for many Bangladeshis, his legacy lies elsewhere—in memories of afternoons spent watching puppet shows, in stories shared across generations, and in the countless artists, performers and cultural workers inspired by his example.